Criterion Sunday 205: Die Sehnsucht der Veronika Voss (Veronika Voss, 1982)

One of Fassbinder’s final films (indeed, the last to be released in his lifetime), this is a dreamlike reverie of soft black-and-white, specifically an hommage to a presumed golden era of Hollywood (and Nazi-era) filmmaking, flashbacks to which are all starry-eyed lights and slinky fashion. The star of these films is the title character (Rosel Zech), who a decade after World War II is struggling to get work and struggling to keep her fragile sense of identity. She meets a sports reporter (Hilmar Thate) who doesn’t know who she is, and strikes up an affair, during which he discovers she’s being drugged by a rapacious doctor (Annemarie Düringer), and resolves to try and free her. These genre elements though are largely interwoven into a story that’s about the dangerous addiction not just to morphine but to fame itself, with a subtle through line of satire that is difficult to laugh at given the suffocating atmosphere of much of the film. It’s a more admirable piece than one I genuinely love, but thus is often the way with Fassbinder.


FILM REVIEW: Criterion Collection
Director Rainer Werner Fassbinder | Writers Fassbinder, Pea Fröhlich and Peter Märthesheimer | Cinematographer Xaver Schwarzenberger | Starring Rosel Zech, Hilmar Thate, Cornelia Froboess, Annemarie Düringer | Length 104 minutes || Seen at a friend’s home (DVD), London, Sunday 25 March 2018 (and before that on VHS at the university library in Wellington, April 2000)

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Criterion Sunday 204: Die Ehe der Maria Braun (The Marriage of Maria Braun, 1978)

She’s an attractive woman, Hanna Schygulla is (as the title character), and that’s only one of the things she uses to get ahead in the post-World War II mess of West Germany. Maria’s dogged pursuit of her goals, flirting with other men before returning to her pre-War husband (who returns unexpectedly even after she’d given up on him), makes her a potent symbol of Germany in the period, and this film thus functions as something of an allegory. Certainly those closing scenes, soundtracked by the insistent voice of a football commentator narrating a successful German game, drives that home. It may not be Fassbinder’s most flashy film, not the one perhaps with the greatest cult credentials, but it’s a wonderfully resonant piece, I think, underpinned by a great central performance by Schygulla.


FILM REVIEW: Criterion Collection
Director Rainer Werner Fassbinder | Writers Peter Märthesheimer and Pea Fröhlich | Cinematographer Michael Ballhaus | Starring Hanna Schygulla, Klaus Löwitsch, Ivan Desny | Length 115 minutes || Seen at a friend’s home (DVD), London, Sunday 18 March 2018 (and before that on VHS in Wellington, November 1997, and at university in Wellington, March 2000)

Criterion Sunday 202: Stazione termini (Terminal Station aka Indiscretion of an American Wife, 1953)

As a Criterion release, I’m somewhat underwhelmed by this film, even watching De Sica’s longer, original cut (as Terminal Station rather than the shorter version Indiscretion of an American Wife, recut by producer David O. Selznick). It takes the romantic setting of a train station as the locus for its story of two lovers pulled apart then together then apart, a little dance of passion that should be more… well, more like Brief Encounter I suppose. There’s a strange inertness to both Montgomery Clift’s Italian/American Giovanni and Jennifer Jones as the adulterous wife Mary, despite the passionate bond they seem to share. Still, there are some lovely shots and it does create an atmosphere for this forbidding, steamy, loud Italian location.


FILM REVIEW: Criterion Collection
Director Vittorio De Sica | Writers Luigi Chiarini, Giorgio Prosperi and Cesare Zavattini | Cinematographer Aldo Graziati | Starring Montgomery Clift, Jennifer Jones, Richard Beymer | Length 89 minutes || Seen at a friend’s home (DVD), London, Sunday 11 March 2018

Criterion Sunday 200: The Honeymoon Killers (1970)

This seems an intriguing film in many ways, because it’s taking that evergreen trope of lurid Americana — the serial killers — and stripping it of any of the glamour usually afforded them in cinema. It doesn’t make either particularly attractive and it doesn’t beautify their crimes, as the film grimly moves its story on from initial meeting to murderousness in slow stages of development, she no less instrumental than him in driving them to their end. Its black-and-white graininess and low-budget quality effectively recalls Sam Fuller’s 50s pseudo-exploitation flicks, those true-crime ripped-from-the-headlines type of films which could run as a B-movie in a grindhouse.


FILM REVIEW: Criterion Collection
Director/Writer Leonard Kastle | Cinematographer Oliver Wood | Starring Shirley Stoler, Tony Lo Bianco | Length 107 minutes || Seen at a friend’s home (DVD), London, Sunday 25 February 2018

Criterion Sunday 198: Angst essen Seele auf (Fear Eats the Soul, aka Ali: Fear Eats the Soul, 1974)

It’s such a simple setup really: an older woman falls for a younger man, an immigrant to her country (although she herself is the daughter of a foreigner, as her neighbours are quick to note to one another), and is thus swiftly ostracised by everyone around her. However, it’s remarkable how many ways Fassbinder finds to approach this. As a starting point, it’s a story set in post-War Germany about how easy it is to fall into a judgement of outsiders, but it’s also a story of the ambiguous relationship between class and race (Emmi herself is a cleaner, but society already values her whiteness more). This latter concept then gets bundled up into a critique of capitalism, as tolerance fights against and is then co-opted by market needs. It’s a story of family tensions, which is where All That Heaven Allows enters the (TV) picture. It’s even a story of food as a locus of intercultural engagement and tension (couscous gets a pretty prominent role, and the local grocer is a key part of Emmi’s ostracism). And then when things seem to be lightening for the two, we realise that Emmi is unthinkingly being pushed into the behaviour she had so despised in others earlier on, thus so easily becoming once again part of multiple systems of oppression that, so briefly, she had shockingly been made to confront herself. But, at its heart, it still remains such a simple story and that’s where its power lies.


FILM REVIEW: Criterion Collection
Director/Writer Rainer Werner Fassbinder | Cinematographer Jürgen Jürges | Starring Brigitte Mira, El Hedi ben Salem, Irm Hermann, Rainer Werner Fassbinder, Barbara Valentin | Length 93 minutes || Seen at National Library, Wellington, Wednesday 9 May 2001 (and earlier on VHS at home, Wellington, February 1998 and at university, Wellington, March 2000, and most recently on DVD at a friend’s home, London, Sunday 11 February 2018)

Criterion Sunday 196: Hiroshima mon amour (1959)

When people think about pretentious French movies, I think this is somehow the Platonic ideal they’re thinking about, an ur-text of reflective voiceover, alienated detachment and pain, the possibility (and impossibility perhaps) of cultural rapprochement following imperialist aggression, opening as it does with the conjoining of bodies under the ash of nuclear fallout. It is, as has been far more eloquently expressed by commentators far more engaged than I am, about the complex interplay of memory and desire, but it is also aggressively modernist in its construction and the way it engages with the viewer, so unlikely to be for all tastes. I first watched it 20 years ago, and I’ll watch it in another 20, and I can only hope to catch up with what it’s doing by then.


FILM REVIEW: Criterion Collection
Director Alain Resnais | Writer Marguerite Duras | Cinematographers Michio Takahashi and Sacha Vierny | Starring Emmanuelle Riva, Eiji Okada | Length 90 minutes || Seen at a friend’s home (DVD), London, Sunday 11 February 2018 (and earlier, on VHS in Wellington, December 1997)

Criterion Sunday 195: I fidanzati (aka The Fiances, 1962)

Presented side-by-side in the Criterion Collection with Olmi’s previous film Il posto, this has a quite different feeling to it, even if it has all the same beauty to its monochrome cinematography. Instead of moving to the big city of Milan, this film has a hero who leaves that city for the remoteness of Sicily. It’s about two people who are already together as of the film’s start, but who seem to be unhappy and drifting apart. It’s a film that doesn’t constantly look forward to a (possibly bleak) future, but continually seems to look back to a (apparently happier) past from that bleak present. This shifts some of the emotional weight of the film a little, but love — while uncertain in both films — here instead has a haunting, spectral presence.


FILM REVIEW: Criterion Collection
Director/Writer Ermanno Olmi | Cinematographer Lamberto Caimi | Starring Carlo Cabrini, Anna Canzi | Length 77 minutes || Seen at a friend’s home (DVD), London, Sunday 4 February 2018

Criterion Sunday 188: L’Amour en fuite (Love on the Run, 1979)

There are elements here to the last Antoine Doinel film that feel a little cobbled together, not least the extensive use of flashback clips to the previous films. However, what is actually shot for this film — primarily scenes involving Antoine divorcing his wife Christine, and reconnecting with the lovely Marie-France Pisier as Colette (looking younger somehow than in the 1962 clips from Antoine et Colette) — all looks great, with some gloriously-lit frontally framed cinematography, and Truffaut has brought some new collaborators (including Pisier) on board as co-screenwriters. That aside, it does also try perhaps a little hard to wrap things up with Doinel’s new love interest, Sabine. It doesn’t outstay its welcome, in any case.


FILM REVIEW: Criterion Collection
Director François Truffaut | Writers François Truffaut, Marie-France Pisier, Jean Aurel and Suzanne Schiffman | Cinematographer Néstor Almendros | Starring Jean-Pierre Léaud, Claude Jade, Marie-France Pisier, Dorothée | Length 94 minutes || Seen at home (DVD), London, Saturday 30 December 2017

Criterion Sunday 187: Domicile conjugal (Bed and Board, 1970)

A couple of years after Stolen Kisses, Léaud’s Doinel character is (somewhat) settled down, married to Christine and expecting a child, but he retains the comic insouciance and desperate inability to hold down a job that marks the character in the previous film (the earlier ones were more about his adolescence). There’s a sadness to his character now, as his age advances and he still dallies around in affairs (including with a Japanese women, which at least has the saving grace that I don’t have to lean too heavily on the ‘it was a film of its era’ excuse that’s so often required for such subject matters), and Truffaut livens it up with little visual gags like having Tati’s Monsieur Hulot character get on a metro train at one point. Léaud certainly is starting to become the character that he’s so recognisable as from much of his 70s and 80s work.


FILM REVIEW: Criterion Collection
Director François Truffaut | Writers François Truffaut, Claude de Givray and Bernard Revon | Cinematographer Nestor Almendros | Starring Jean-Pierre Léaud, Claude Jade, Hiroko Berghauer | Length 100 minutes || Seen at home (DVD), London, Saturday 30 December 2017

Criterion Sunday 186: Baisers volés (Stolen Kisses, 1968)

In some ways, this film may be my favourite of the Antoine Doinel series Truffaut and Léaud made over 20 years between 1959 and 1979 (though in others, it’s still his debut, The 400 Blows). It returns to the character as a young 20-something beginning his first adult relationship with Christine (with Truffaut’s semi-autobiographical tendencies apparently extending to the actor who played Christine, Claude Jade). That said, like the subsequent films in the series, it remains broadly comic, with Doinel’s character being easily distracted by women — most notably Delphine Seyrig as Fabienne, a shopkeeper’s wife — and unable to hold down a job — he meets Fabienne through a client at a private detective agency where he works, who wants to know why everyone hates him. It’s the film that probably most excoriates Doinel’s romantic tendency and fecklessness, and there’s a beautifully-judged extended scene in front of a mirror where he just says the central characters’ names repeatedly.


FILM REVIEW: Criterion Collection
Director François Truffaut | Writers François Truffaut, Claude de Givray and Bernard Revon | Cinematographer Denys Clerval | Starring Jean-Pierre Léaud, Claude Jade, Delphine Seyrig, Michael Lonsdale | Length 91 minutes || Seen at home (DVD), London, Saturday 30 December 2017